We're done with our first full(ish) week of rehearsals and we've got the entire show blocked. It's nice to have the technical out of the way so that we can start really breaking down the play scene by scene. I'm really happy with where we're at and how easy my job is going to be...Peter and Kelly started off with a very high level of understanding of these characters. In many ways, they as people are really close to Doug and Kayleen the characters...and in the way the two interact. If you know the actors and if you see the play, you'll know exactly what I'm talking about.
The etudes have been going really well. We've been spending anywhere from 30-45 minutes every night doing these exploratory improvisations. One of the luxuries of working on an 85 minute show is that you have more time for character work in a four hour rehearsal. We're trying to focus on physical and vocal qualities of the characters at their different ages. The tricky part is that we see the characters at ages 8, 13, 18, 23, 28, 33, and 38...but not in chronological order. In order of scenes, it's 8, 23, 13, 28, 18, 33, 23, and 38. Double challenge. We're really trying to observe and explore how these characters change every five years. Sometimes it's easy to spot how they change but difficult to portray. Sure there's a big difference from eight to thirteen, but when you're in your early 30s and trying to put those differences into practice, it's a big challenge. But one we're aware of and one we're having fun solving.
We're still gathering images and ideas that will inform our end product. I'll be honest, a lot of this process is searching in the dark. I don't have prescriptive, pre-conceived notions of what I want this show to look like by the end...and that's completely on purpose. I want collaboration on this project...where the actors, designers and stage managers all contribute artistically to the final project DURING the rehearsal process. It always seems counterintuitive to have the concept cemented, designs finalized, and zero room for compromise BEFORE rehearsals have even begun. The reason it's done this way traditionally is, of course, because we have to start constructing the set, costumes, and lights in time for opening. We're going to be a bit rushed later in the process, but I think it'll be worth it because we will have come up with something that works for all involved.
We're done with our first full(ish) week of rehearsals and we've got the entire show blocked. It's nice to have the technical out of the way so that we can start really breaking down the play scene by scene. I'm really happy with where we're at and how easy my job is going to be...Peter and Kelly started off with a very high level of understanding of these characters. In many ways, they as people are really close to Doug and Kayleen the characters...and in the way the two interact. If you know the actors and if you see the play, you'll know exactly what I'm talking about.
The etudes have been going really well. We've been spending anywhere from 30-45 minutes every night doing these exploratory improvisations. One of the luxuries of working on an 85 minute show is that you have more time for character work in a four hour rehearsal. We're trying to focus on physical and vocal qualities of the characters at their different ages. The tricky part is that we see the characters at ages 8, 13, 18, 23, 28, 33, and 38...but not in chronological order. In order of scenes, it's 8, 23, 13, 28, 18, 33, 23, and 38. Double challenge. We're really trying to observe and explore how these characters change every five years. Sometimes it's easy to spot how they change but difficult to portray. Sure there's a big difference from eight to thirteen, but when you're in your early 30s and trying to put those differences into practice, it's a big challenge. But one we're aware of and one we're having fun solving.
We're still gathering images and ideas that will inform our end product. I'll be honest, a lot of this process is searching in the dark. I don't have prescriptive, pre-conceived notions of what I want this show to look like by the end...and that's completely on purpose. I want collaboration on this project...where the actors, designers and stage managers all contribute artistically to the final project DURING the rehearsal process. It always seems counterintuitive to have the concept cemented, designs finalized, and zero room for compromise BEFORE rehearsals have even begun. The reason it's done this way traditionally is, of course, because we have to start constructing the set, costumes, and lights in time for opening. We're going to be a bit rushed later in the process, but I think it'll be worth it because we will have come up with something that works for all involved.
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